Change Detection: Paying Attention To Detail Detail

Changes made during a brief visual interruption sometimes go undetected, even when the object undergoing the change is at the center of the observer's interest and spatial attention (Simons & Levin, 1998). This study examined two potentially important attentional variables in change blindness: spatial distribution, manipulated via set size, and detail level, varied by having the change at either the global or local level of a compound letter. Experiment 1 revealed that both types of change were equally detectable in a single item, but that global change was detected more readily when attention was distributed among several items. Variation of target level probability in Experiment 2 showed further that observers could flexibly set the detail level in monitoring both single and multiple items. Sensitivity to change therefore depends not only on the spatial focus of attention; it depends critically on the match between the detail level of the change and the level-readiness of the observer

What’s in a Friendship? Partner Visibility Supports Cognitive Collaboration between Friends

Not all cognitive collaborations are equally effective. We tested whether friendship and communication influenced collaborative efficiency by randomly assigning participants to complete a cognitive task with a friend or non-friend, while visible to their partner or separated by a partition. Collaborative efficiency was indexed by comparing each pair’s performance to an optimal individual performance model of the same two people. The outcome was a strong interaction between friendship and partner visibility. Friends collaborated more efficiently than non-friends when visible to one another, but a partition that prevented pair members from seeing one another reduced the collaborative efficiency of friends and non-friends to a similar lower level. Secondary measures suggested that verbal communication differences, but not psychophysiological arousal, contributed to these effects. Analysis of covariance indicated that females contributed more than males to overall levels of collaboration, but that the interaction of friendship and visibility was independent of that effect. These findings highlight the critical role of partner visibility in the collaborative success of friends

Rembrandt\u27s Textural Agency: A Shared Perspective in Visual Art and Science

This interdisciplinary paper hypothesizes that Rembrandt developed new painterly techniques — novel to the early modern period — in order to engage and direct the gaze of the observer. Though these methods were not based on scientific evidence at the time, we show that they nonetheless are consistent with a contemporary understanding of human vision. Here we propose that artists in the late ‘early modern’ period developed the technique of textural agency — involving selective variation in image detail — to guide the observer’s eye and thereby influence the viewing experience. The paper begins by establishing the well-known use of textural agency among modern portrait artists, before considering the possibility that Rembrandt developed these techniques in his late portraits in reaction to his Italian contemporaries. A final section brings the argument full circle, with the presentation of laboratory evidence that Rembrandt’s techniques indeed guide the modern viewer’s eye in the way we propose

Attention and visual memory in visualization and computer graphics

Abstract—A fundamental goal of visualization is to produce images of data that support visual analysis, exploration, and discovery of novel insights. An important consideration during visualization design is the role of human visual perception. How we “see ” details in an image can directly impact a viewer’s efficiency and effectiveness. This paper surveys research on attention and visual perception, with a specific focus on results that have direct relevance to visualization and visual analytics. We discuss theories of low-level visual perception, then show how these findings form a foundation for more recent work on visual memory and visual attention. We conclude with a brief overview of how knowledge of visual attention and visual memory is being applied in visualization and graphics. We also discuss how challenges in visualization are motivating research in psychophysics

Facial actions as visual cues for personality

What visual cues do human viewers use to assign personality characteristics to animated characters? While most facial animation systems associate facial actions to limited emotional states or speech content, the present paper explores the above question by relating the perception of personality to a wide variety of facial actions (e.g., head tilting/turning, and eyebrow raising) and emotional expressions (e.g., smiles and frowns). Animated characters exhibiting these actions and expressions were presented to human viewers in brief videos. Human viewers rated the personalities of these characters using a well-standardized adjective rating system borrowed from the psychological literature. These personality descriptors are organized in a multidimensional space that is based on the orthogonal dimensions of Desire for Affiliation and Displays of Social Dominance. The main result of the personality rating data was that human viewers associated individual facial actions and emotional expressions with specific personality characteristics very reliably. In particular, dynamic facial actions such as head tilting and gaze aversion tended to spread ratings along the Dominance dimension, whereas facial expressions of contempt and smiling tended to spread ratings along the Affiliation dimension. Furthermore, increasing the frequency and intensity of the head actions increased the perceived Social Dominance of the characters. We interpret these results as pointing to a reliable link between animated facial actions/expressions and the personality attributions they evoke in human viewers. The paper shows how these findings are used in our facial animation system to create perceptually valid personality profiles based on Dominance and Affiliation as two parameters that control the facial actions of autonomous animated characters

The Utility of Beautiful Visualizations

Geovisualizations provide a means to inspect large complex multivariate datasets for information that would not otherwise be available with a tabular view or summary statistics alone. Aesthetically appealing visualizations can elicit prolonged exploration and encourage discovery. Creating data geovisualizations that are effective and beautiful is an important yet difficult challenge. Here we present a tool for rendering geovisualizations of continuous spatial data using the painterly techniques of impressionist-era artists. The techniques, which have been tested in controlled studies, vary the visual properties (e.g., hue, size, and tilt) of brush strokes to represent multiple data attributes simultaneously in each location. To demonstrate this technique, we render two examples 1) weather data attributes (e.g., temperature, windspeed, atmospheric pressure) from the NOAA Global Forecast System and 2) fragile state indices as assessed by Foreign Policy Magazine. These examples demonstrate how open source geospatial visualizations can harness aesthetics to enhance visual communication and viewer engagement

A General Statement of Structured Singular Value Concepts

Some key concepts of strucred singular value theory for the stability and performance-robustness analysis of linear time-invariant multivariable systems are stated. Using a set-invariance principle, the theory is then generalized to allow for nonlinear and/or time-varying nominal systems and uncertainties. The general theory is then re-specialized to the case of nominally linear time-invariant systems subject to L2-induced-norm bounded uncertainties

The Role of Haptic Expectations in Reaching to Grasp: From Pantomime to Natural Grasps and Back Again

© Copyright © 2020 Whitwell, Katz, Goodale and Enns. When we reach to pick up an object, our actions are effortlessly informed by the object’s spatial information, the position of our limbs, stored knowledge of the object’s material properties, and what we want to do with the object. A substantial body of evidence suggests that grasps are under the control of “automatic, unconscious” sensorimotor modules housed in the “dorsal stream” of the posterior parietal cortex. Visual online feedback has a strong effect on the hand’s in-flight grasp aperture. Previous work of ours exploited this effect to show that grasps are refractory to cued expectations for visual feedback. Nonetheless, when we reach out to pretend to grasp an object (pantomime grasp), our actions are performed with greater cognitive effort and they engage structures outside of the dorsal stream, including the ventral stream. Here we ask whether our previous finding would extend to cued expectations for haptic feedback. Our method involved a mirror apparatus that allowed participants to see a “virtual” target cylinder as a reflection in the mirror at the start of all trials. On “haptic feedback” trials, participants reached behind the mirror to grasp a size-matched cylinder, spatially coincident with the virtual one. On “no-haptic feedback” trials, participants reached behind the mirror and grasped into “thin air” because no cylinder was present. To manipulate haptic expectation, we organized the haptic conditions into blocked, alternating, and randomized schedules with and without verbal cues about the availability of haptic feedback. Replicating earlier work, we found the strongest haptic effects with the blocked schedules and the weakest effects in the randomized uncued schedule. Crucially, the haptic effects in the cued randomized schedule was intermediate. An analysis of the influence of the upcoming and immediately preceding haptic feedback condition in the cued and uncued random schedules showed that cuing the upcoming haptic condition shifted the haptic influence on grip aperture from the immediately preceding trial to the upcoming trial. These findings indicate that, unlike cues to the availability of visual feedback, participants take advantage of cues to the availability of haptic feedback, flexibly engaging pantomime, and natural modes of grasping to optimize the movement